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The mysterious Orchid joins Multi Culti with a vibrant homage to the golden era of Spanish trance, infused with dewy drops of glowing Balearic beauty. Firmly believing that musical innovation is now a relic of the past., Orchid looks back and resurrects a sense fun and passion so often lacking in the realm of contemporary business techno and commercial dance. Living in isolation in a far off nation which never kissed by a proper psychedelic movement, Orchid operates with a deep sense of nostalgia for a scene he never got to experience first-hand. Digging through the archives, he developed a profound appreciation for the atmosphere of sex, power, love, and sweetness - elements he believes are masterfully blended in the music of Spanish-speaking cultures. 'Techno Valencia' invites listeners to experience the nostalgia, the passion, and the unadulterated soul of a time when music was not just heard but felt deeply.

6-track EP compilation with Terada's work for the Ape Escape games, tip!

Outside of the international house underground, where his early ‘90s works for the Far East Recording label he co-founded with Shinichiro Yokota are rightly celebrated as bona-fide classics, Soichi Terada is best-known for his work composing music for video games. Yet until now, few of his productions for video games have been released outside of Japan, especially on vinyl.

Apes In The Net, a six-track EP featuring music composed for the popular PlayStation 1 series Ape Escape, sets the record straight. It not only showcases Terada’s quality as a composer and producer, but also his versatility. Like much of Terada’s work on the Ape Escape series, the tracks featured don’t explore deep, New York and New Jersey influenced house sounds, but rather his lesser-celebrated love of jungle and drum & bass – a sound he fully explored on 1996 album Sumo Jungle.

“The producer of the Ape Escape games heard that and got in touch,” Soichi remembers. “They asked me to make the soundtrack, and then work on the music for the sequels after that. I used to love making music with AKAI hardware samplers, synthesisers, and computers, so I played and recorded the tracks using almost the same methods as I did when I made house music. Using breakbeats and audio samples with a sampler was the most useful way to make the soundtracks.”

The six tracks on show, which were originally recorded in the ‘90s but reconstructed and remastered for Japan-only CD and digital releases over a decade ago, mix elements of Terada’s familiar deep house style – think warming chords and pads, memorable melodies, and emotive musical motifs – with blistering D&B breakbeats, 16-bit synth sounds, electronic bleeps and undeniably weighty basslines. They’ve stood the test of time and arguably sound just as fresh now as they did at the turn of the millennium.

For proof, check the soaring, spellbinding ‘Spectors Castle’, where uplifting lead lines and sumptuous chords dance atop punchy beats and growling bass, the jazzy and saucer-eyed rush of ‘Mount Amazing’ (all twinkling piano motifs, alien synth sounds, squelchy bass and skittish drums) and the intergalactic, liquid D&B excellence of ‘Time Station’, whose whistling melodies and stargazing chords are undeniably alluring.

There are plenty of other delights to be found across the EP, too, from the bustling, race-to-the-finish breathlessness of D&B/bleep techno fusion workout ‘Spectors Factory In’, and the rumbling sub-bass, creepy pads and suspenseful melodies of ‘Haunted House’, to the bombastic, all-out-assault on the senses that is ‘Coaster’, the set’s most “purist” jungle workout – albeit one that also doffs a cap to the pulsating world of big room techno.

Apes In The Net, then, celebrates Soichi Terada’s mastery as a video games composer and early Japanese junglist. Props are well and truly overdue.

Produced by Henry Jenkins (Surprised Chef), cinematic funk combo The Diasonics are back with a limited edition 45 feat. an explosive version of soul stormer "Beggin'. Limited to 500 copies worldwide.

Produced and mixed by Henry Jenkins (Surprised Chef), Russian cinematic funk combo The Diasonics unleash a limited edition 45 featuring an explosive version of soul classic "Beggin'. Composed by Bob Gaudio and Peggy Farina and initially brought to success by the Four Seasons of Frankie Valli in 1967, "Beggin" became a classic of the Northern soul scene in the United Kingdom in the late 1970s. With a tight rhythm section, a super funky bassline and heavy wah-wah guitars The Diasonics version is an instant floorfiller. On the flip side the brand new track "Take One", an irresistible hammond-funk mover, full of heavy breaks and eastern spices.

Active since 2019 The Diasonics are five young and seriously talented Muscovite musicians: Anton Moskvin (drums), Maxim Brusov (bass guitar), Anton Katyrin (percussions), Daniil Lutsenko (electric guitar) and Kamil Gzizov (keyboards). In just a few years the band has amassed a cult following, releasing collectable and in-demand 45s on labels such as Funk Night Records and Mocambo Records. In 2021 they released their debut album "Origin of Forms" on Record Kicks produced by Henry Jenkins, producer amongst the others of the Australian cult instrumental band Surprise Chef. Thanks to the Diasonics's unique style that blends infectious Funk Instrumentals, East European flavours, abstract hip-hop and psychedelia, the album rapidly went sold out on vinyl and it's heavily praised on the international cinematic-funk scene.

PREGOBLIN II is a strange name for a debut album. For the artist who created it, Alex Sebley aka PREGOBLIN, its astonishingly heartfelt and brilliantly catchy assemblage of songs is the culmination of a tortuous genesis period. Its release finally, he hopes, will usher in a fresh, more positive chapter for him, a sequel to all the misery and bullshit up to this point – hence the title. The creative journey to this point has been labyrinthine and frequently painful. As far back as the early ’10s, Sebley was registering his embryonic talent alongside Lias and Nathan Saoudi in The Saudis, the chaotic pre-Fat White Family ensemble where he played guitar and co-authored raw, post-punk material including FWF’s breakthrough tune ‘Touch The Leather’. PREGOBLIN receive a healthy 50,000 plays a month on Spotify. Previous singles include: Combustion which to date has amassed 2.2M streams and was dubbed ‘Single of the year’ last year in The Quietus. Other PREGOBLIN songs include Anna (flowers Won’t Grow), Love Letters, Snakes & Oranges and Wimpy & Wimpy Love with the Pop Group. “PREGOBLIN II’s genre-straddling dexterity and melodic riches mark it out as a loser classic fit to rank alongside Beck and Daniel Johnston. The tunes are memorable and the execution’s forward-facing and inspired” ★★★★ MOJO MAGAZINE // Live Shows February: 2nd Friday London - Amp Studios (with Harry Merry) 17th Saturday Leicester - Academy 2 (with Pip Blom) 19th Monday Cambridge - Junction 2 (with Pip Blom) 20th Tuesday Brighton - Chalk (with Pip Blom) 21st Wednesday London - Heaven (with Pip Blom) 24th Saturday Bristol - Simple Things Festival 25th Sunday Milton Keynes - MK11 (with the Libertines)

PREGOBLIN II is a strange name for a debut album. For the artist who created it, Alex Sebley aka PREGOBLIN, its astonishingly heartfelt and brilliantly catchy assemblage of songs is the culmination of a tortuous genesis period. Its release finally, he hopes, will usher in a fresh, more positive chapter for him, a sequel to all the misery and bullshit up to this point – hence the title. The creative journey to this point has been labyrinthine and frequently painful. As far back as the early ’10s, Sebley was registering his embryonic talent alongside Lias and Nathan Saoudi in The Saudis, the chaotic pre-Fat White Family ensemble where he played guitar and co-authored raw, post-punk material including FWF’s breakthrough tune ‘Touch The Leather’. PREGOBLIN receive a healthy 50,000 plays a month on Spotify. Previous singles include: Combustion which to date has amassed 2.2M streams and was dubbed ‘Single of the year’ last year in The Quietus. Other PREGOBLIN songs include Anna (flowers Won’t Grow), Love Letters, Snakes & Oranges and Wimpy & Wimpy Love with the Pop Group. “PREGOBLIN II’s genre-straddling dexterity and melodic riches mark it out as a loser classic fit to rank alongside Beck and Daniel Johnston. The tunes are memorable and the execution’s forward-facing and inspired” ★★★★ MOJO MAGAZINE // Live Shows February: 2nd Friday London - Amp Studios (with Harry Merry) 17th Saturday Leicester - Academy 2 (with Pip Blom) 19th Monday Cambridge - Junction 2 (with Pip Blom) 20th Tuesday Brighton - Chalk (with Pip Blom) 21st Wednesday London - Heaven (with Pip Blom) 24th Saturday Bristol - Simple Things Festival 25th Sunday Milton Keynes - MK11 (with the Libertines)

The debut album from Groningen scene stalwarts Real Farmer arrives, sprouting fully formed punk - equally melodic and breezy, and urgent and abrasive - evocative of a hybrid of The Jesus and Mary Chain and MC5. However, the band instil their addictively melodic noise with as much present-day influences and originality as there nods to The Stooges.

The time has come and my first solo album sees the light of day. I made the songs on it formyself.
The desire to write, experiment and play with sounds has never stopped. The artists you will hear on
this record, some are real life friends of mine and others are people with whom I have never spoken
a personal word to this day. I‘ve been friends forever with artists like Brixx, Farina Miss and of course
Mr. David A. Tobin for years. Andre Espeut and I have maintained an online friendship for a very long
time.
I hired all the other artists from the vastness of the Internet. Some of the artists didn‘t know the
parts of the other artists involved. In the end I puzzled all the pieces together and created a fine dish
with beautiful ingredients from all over the world. I know that an album like this might have a hard
time in this digital world and of course I don‘t have the marketing budget of a major release. But
time will tell and well produced music will find its ways.
Creating music has had a positive influence on my entire life, even though criticism and other
obstacles require you to build strong armor. The good news is when you grow older, many things are
no longer as important to you and you set priorities, focus more on the good things and good people
in your life. I hope you have fun with my music and my people and by listening and spinning my
record you will help to spread the good vibes.
It‘s truly a GOOD TIME FOR GOOD TIMES…

Brothers Dana and Alden McWayne, along with a troupe of multi-instrumental artists, come together to create jazzy melodies with indie sounds inspired by their unconventional upbringing in Eugene, Oregon. Dana (saxophone) is an organic farm inspector while Alden (drums) is a recent grad of Berklee College of Music. Their debut full-length album, Quiet Music for Young People, is a lush album that melds vintage sounds with the aesthetic and experience of existing in Gen Z and the digital age. Quiet Music For Young People also reminisces of the brother's childhood, summer days spent working at an apple orchard and jamming at jazz clubs on rainy Oregon nights. The experimental smooth jazz-infused album closer "Dragonfly" has been gaining traction on streaming due to trends across Instagram and TikTok.

Discovered after spending 58 years on a dusty shelf in the Louis Wayne Moody Pictures vault, this previously unissued soundtrack contains a backpack's worth of grieving guitars, somber surf, and haunting hiss, zipped tight with the teeth of abandonment, dashed dreams, moral ambiguity, fate, tearful goodbyes, and lukewarm diner coffee. Because the long arm of society nips at their heels... THEY MOVE I N THE NIGHT.

Discovered after spending 58 years on a dusty shelf in the Louis Wayne Moody Pictures vault, this previously unissued soundtrack contains a backpack's worth of grieving guitars, somber surf, and haunting hiss, zipped tight with the teeth of abandonment, dashed dreams, moral ambiguity, fate, tearful goodbyes, and lukewarm diner coffee. Because the long arm of society nips at their heels... THEY MOVE I N THE NIGHT.

DOODSESKADER (Dutch for “Death Squad”) is a merging of the minds of Tim De Gieter (Amenra, Much Luv Studio) and Sigfried Burroughs (Kapitan Korsakov, Paard).

Throughout their three years of existence, DOODSESKADER has been relentlessly pushing the envelope of what it means to be a “heavy” band. From the grunge-infused sludge on their EP “MMXX : Year Zero” to the punishing blend of hiphop and hardcore of their debut album “Year One” and the sonic onslaught of relentless rapping on standalone singles such as “FLF” and “Still Haven’t Killed Myself”, they’re breaking free of any form of categorization.



The duo has been compared to genre-defying trailblazers such as Ghostemane, Show Me The Body, and Ho99o9, however, they clearly bring their own sonic palette to the table.

The red thread in all of this has been their brutally honest and introspective lyrics. Far from your run-of-the mill type of band, DOODSESKADER uses their instrumentation as a sonic backdrop for the emotion and message they try to convey; their music serves as a mirror for life itself. Sometimes brutal, sometimes fragile, sometimes energizing, but always unexpected.



Now, on March 8th, with the arrival of their sophomore album “Year Two”, DOODSESKADER takes things up another couple of notches. From silky-soft “Pastel Prison” to the absolute carnage of “The Sheer Horror Of The Human Condition”, this record is a testament to both their creativity and their will to leave their mark on this world. It’s a trip in every sense of the word, tapping into even more genres such as R&B, techno, hardcore punk, and moody ballads reminiscent of the 90s, all blended seamlessly in their musical vocabulary and making for a sonic journey unlike anything you’ve heard before.

Where their last record “Year One” saw the duo struggling with their inner demons both past and present, “Year Two” is an undeniable display of progress; not only introspectively, but also musically. De Gieter and Burroughs sound outright bloodthirsty, ready to take on anyone in their way. Tracks like “Bone Pipe” or “I Ask With My Mouth, I’ll Take With My Fist” paint a vivid picture of the band’s will to plot their own their path through this world, while at the same time slowly coming to terms with their pasts on tracks like “Peine” or “People Have Poisoned My Mind To A Point Where I Can No Longer Function”. “Year Two” undeniably sees DOODSESKADER’s promise fulfilled: it’s both a complete teardown of genres and boundaries, a sonic wrecking ball wielded by two people trying to get better.

Live, DOODSESKADER proves to be an absolute must see, translating into their sold out AB-release and a sleuth shows over Europe playing with acts such as Brutus and Amenra and on the stages of festivals such as Hellfest (FR), Mystic Fest (PL), Lokerse Feesten (BE), Fluff Fest (CZ) and much more.

Meatbodies’ latest undertaking and borderline lost album, Flora Ocean Tiger Bloom, is their most varied and realized work to date. It’s a melodic, hook-filled rock epic in which frontman and lead guitarist Chad Ubovich faces the trials of sobriety, redemption, reinvention while literally learning to walk and play again. Resurrection not only accompanies the record, but its production as well, Flora Ocean Tiger Bloom examines themes surrounding love and loss, escapism, defeatism, hedonism, psychedelics and much more. By 2017, Ubovich had reached a crossroads. After years of increasingly insane shows playing to heaving crowds with an everevolving and rotating door of personnel, fatigue had taken its toll and he realized another change was on the horizon. Retreating to the seedy Los Angeles underbelly—in search of meaning and a reset—he escaped into that world, ignoring his own well being, trying to forget his successes. It was at this point that Flora Ocean Tiger Bloom began to take shape—a project built by a man searching for new beginnings and his own sense of self. After sobering up, sessions began with longtime collaborator Dylan Fujioka. However, due to discrepancies with the studio, tensions were high and the plug was pulled. And as the world took a back seat, so did the idea of Flora Ocean Tiger Bloom. Not wanting to sit still at home, Ubovich began to comb through his previous demos, and, with that, 333 was born, the now de facto third Meatbodies album. Yet Flora was never far from Ubovich’s mind. When restrictions started to lift, Ubovich headed to Gold Diggers Sound in Los Angeles, backed by engineer Ed McEntee and a team of colleagues and friends, and completed the final act to the album. It recalls the searing Blue Cheer-meets-Iggy Pop-with-psychedelia that permeated previous releases, but adds new elements of shoegaze, classic alternative, Britpop, drone, and hints of country. Simultaneously an ode to ’80s LA punk and the rise of indie / alternative music in the U.K., it plays like a radio station broadcasting from the void.

Australischer Rock-Glanz trifft auf 80s Sunset Strip! The Neptune Power Federation kehren mit ihrem sechsten Album zurück, einer Sammlung fieberhafter Night Stories, untermauert mit purem Rock! Die vertonten Kindergeschichten mit einem ausgesprochen US-Rock-Sound der frühen 1980er Jahre sind inspiriert vom unbeschwerten und rücksichtslosen Sunset Strip in LA. Und hier wendet sich die Band bei 'Goodnight My Children' auch dem Radiorock der späten 1970er Jahre zu. Die acht Tracks feuern mit purer Rock-Inbrunst, inkl. dröhnender Gitarrensoli und dem stets markant verlockendem und hypnotisierenden Gesang von Front-Lady Screamin' Loz Sutch. Dieses Album dürfte die bisher beste Vocal-Performance der Sängerin mit dem beeindruckenden Kopfschmuck sein.
Die Sessions waren organisch und intuitiv, ermöglichten es Sutch so, die klassischen Pop-Strukturen der Tracks zu erweitern. Perfekt zum Album-Thema, das eine Sammlung nächtlicher Geschichten symbolisiert, die, so schrecklich sie auch sein mögen, den Zuhörer in der fürsorglichen Umarmung von Sutch, der kaiserlichen Priesterin, zurücklassen. Und als zusätzlichen Bonus erhalten die Fans ein illustriertes Märchenbuch, das die Veröffentlichung begleiten wird.
Die Band wird Ende Februar / Anfang März auch Deutschland-Konzerte spielen und dabei u.a. in Hamburg das 'Hell Over Hammaburg'-Festival beehren.

Rock Hard (10/10 Pkt.)
"Wie starb Sid Vicious? Wo ist Richie Edwards? Wann kommt ein neues Guns-N´-Roses-Album? Was ist die wahre Identität von Jens Peters? In die Reihe der großen Mysterien des Rock fügt sich das Rätsel, warum THE NEPTUNE POWER FEDERATION in gottverdammten kleinen Clubs spielen, während die konzeptionell ähnlich gelagerten Ghost Arenen füllen. Mangelnde Vielfalt ist nicht die Ursache: Die Aussies packen rustikalen Rock´n´Roll, Düster-Doom und Schrägo-Psych ebenso in ihre knallbunte Wundertüte wie überlebensgroßes Musiktheater mit viel Pomp, Musical-Flair und Pop-Appeal. Die Songs stehen dem Durchbruch auch nicht im Wege. Sie sind entweder ziemlich gut, verdammt gut oder schlicht großartig. Manche tänzeln leichtfüßig im glamourösen Power-Pop-Gewand einher (´Let Us Begin´, ´Twas A Lie´), andere klingen, als würden Heart Black-Sabbath-Stücke interpretieren (´Lock & Key´). Wieder andere lassen New-Age-bewegte Queen auf die synthetisierten ZZ Top der Achtziger treffen (´Woe Be Father´s Troubled Mind´, ´Hariette Mae´). Viele lassen sich auf Anhieb mitpfeifen, wobei die Eingängigkeit nie auf Kosten der Tiefe geht. Vielmehr sind die Arrangements so detailverliebt und wendungsreich, dass es fast zu Tränen rührt. Doch kommen wir zum "unique selling point" der wahnwitzigen Truppe: dem intergalaktischen, Brautkleid tragenden Christbaum mit Hirschgeweih namens Screamin Loz Sutch. Dass sich die "Imperial Priestress" in den hochherrschaftlichen Gesangskreisen von Farida Lemouchi, Chrissie Hynde oder gar Ann Wilson bewegt, war bereits erwiesen. Der hochdramatische Titeltrack zeigt jetzt, dass sie nicht von dieser Welt ist. Kurz: Es gibt keinen Grund, warum TNPF nicht längst Megastars sind - außer einer großen kosmischen Ungerechtigkeit. Es ist an euch, diese zu korrigieren!"

Legacy (12/15 Pkt.)
"Die australische Ausnahmekapelle um Screaming Loz Sutch, ihres Zeichens Exzentrikerin und Frontfrau mit großartiger Stimme, legt das sechste Album auf den Tisch, und bereits nach dem ersten Hören ist klar: Das Ding könnte verdammt groß werden! Full Energy Rock'n'Roll spielst du nicht, ohne, wenn du es gut machst, an die Großen zu erinnern. Aber auch wenn die Dinos im Sound der Band präsent sind, wirken die Songs easy und frisch von der Leber weg gerockt ('Let Us Begin' und 'Lock & Key'). Manche Parts lassen einen fast unverschämten Pop-Appeal in den Rock'n'Roll tropfen und begeben sich auf Ausschweifungen in die psychedelisch poppige Ecke ('Woe Be Father's Troubled Mind'). Ein Stück, in dem die Musik mit einer überlebensgroßen Attitüde flirtet, was die Gitarrensoli vor dem beschwörenden Part schön ins Rampenlicht setzt. Danach die klassische Mitklatsch-Nummer, ab da mutiert die Platte langsam zum Überflieger ('Betrothed To The Serpent'). Am Ende strecken sich Musik und Songwriting und wachsen aus dem bisherigen, schon vielschichtigen Können der Band nochmals hinaus. Da trifft der Pop-Appeal auf gefühlvollen Blues-Sound und wird zu wuchtigem Siebziger-Rock. Das funktioniert bestens. Nicht zuletzt, weil die Instrumentalfraktion auf dem Album fast blind miteinander zu harmonieren scheint und Screaming Loz Sutch die Kunst vollbringt, die nötige Theatralik, das gewisse Quäntchen an Exzess und die genau dosierte Übertreibung in ihr Organ zu legen. Der Titeltrack legt davon erstaunliches Zeugnis ab! It ain't a long way to the top … anymore."

"Something happened on No. The early EPs from Baltimore’s Tomato Flower were pretty, dreamy psychedelia. Warm to the touch, like looking up at the trees on a cloudless day. On No, the four-piece’s debut album, those trees, that cloudless sky, have become haunted, thorny, stormy. It takes Tomato Flower from buttoned-up, almost technically formalist psych pop to something more urgent, raw, emotionally immediate. No is messier, more expansive, and through all of its chaos, the band’s most rigorous artistic statement to date.

No is the band’s first effort made entirely in person, the first thing tracked in a studio instead of in a bedroom. It is a highly collaborative record written and recorded by everyone, partially made live. It is very much the byproduct of a band that has done some serious touring, following a coast-to-coast tour with Animal Collective in the summer of 2022.

Lead single “Destroyer,” has Jamison Murphy practically screaming over angular guitars, oscillating in a sonic space somewhere between the prettiness of Broadcast and the sludge of Jesus Lizard. It also presents an early entry point to one of No’s major conceptual underpinnings: that of the breakup between Murphy and fellow co-lead vocalist and guitarist Austyn Wohlers, which occurred during the composition of the album.

It wouldn’t be fair to just call No a break up album. It’s far more complicated with that. No is a record about negation: I will not do this, you cannot tell me what to do, we are not living in a utopia, don’t be delusional. No embraces a kind of brutal realism, a confrontation of life that only happens when you wizen up a little bit. All of it is a brutal delight, a departure from the past, a nod to a startling present."

French singer/songwriter Cyrille Aimée, a matchless interpreter of song, is back with a new album and a new story to tell "A Fleur de Peau" presents Cyrille in her own words, with her own original compositions presented in her own arrangements, developed in close collaboration with New York multi-instrumentalist and producer Jake Sherman. The music on "A Fleur de Peau" is the most original and personal of Cyrille"s career. Drawing on her Dominican heritage with its cargo of African dance rhythms and Spanish folksongs, embracing the directness and simplicity of contemporary pop forms, singing tales straight from her own life, this is Cyrille as you have never heard her before. The album"s genesis originates far from New York or her adopted New Orleans home, deep within the forests of Costa Rica and an astonishing tale of a creative rebirth.

The king of Colombian Bass is back on another low-end adventure!
In the vein of his previous work "Colombian Party", "Sendero" is another homage to the diversity of Colombia’s musical cultures and the artist's all-time favorite genres such as bass music, Hip-Hop and Dancehall. The album was entirely recorded between Bogotá and Sunka’s countryside farm, where the artist has been living for the past few years, growing all kinds of fruits and vegetables, Sunka’s new album “Sendero”, featuring Medellin-based hip-hop and reggae singer Raspapulaman, rising stars La Bembera and Zam El Caribean, Bogotá-based hip-hop and punk singer Jacob DMC, hip-hop maestros Kontent Thug and Santacruz Medina of Kartel Pacifico, is not your typical tropical album.
As accustomed , Sunka delivers a perfect blend of sub frequencies, heavy electronic drums and organic elements. Sweet and sharp at the same time,"Sendero" will make you
whine your waist at home and in the club, and will certainly go heavy on your speakers!

This collection assembles the range of sources that Robert Johnson heard and learned from including songs from his mentor Son House and from other Delta performers and from sources that show aspects of the musical world in which he lived. His tastes ranged far and wide and he had a gift for absorbing sounds of all kinds, including from tin pan alley to hillbilly songs. He was a brilliant creative musician who managed a stunningly effective fusion of his Delta roots and the smoother approach of the then prominent contemporary blues artists. As with any genius in any field he was able to produce great work only because he was standing on the shoulders of previous great artists. This collection provides an introduction to a number of them and gives a sense of how Johnson adapted and combined their styles. It presents music that can still excite and inspire us today just as it did to Robert Johnson back in the first golden age of the blues.

By the turn of the 80s, the impact of David Bowie’s ground- breaking Berlin recordings – the synths, the alienation, the drily futuristic production – was being felt on music across Europe. What’s more, the records being made were reflecting back and influencing Bowie’s own work – 1979’s Lodger and 1980’s Scary Monsters owed a debt to strands of German kosmische (Holger Czukay), new electronica (Patrick Cowley, Harald Grosskopf), and the latest works from old friends and rivals like Robert Fripp, Peter Gabriel and Scott Walker, all of whom had been re-energised by the fizz of 1977.

Compiled by Saint Etienne’s Bob Stanley and the BFI’s Jason Wood, Fantastic Voyage is the companion album to their hugely successful Café Exil collection, which imagined the soundtrack to David Bowie and Iggy Pop’s trans-European train journeys in the mid-to-late seventies. “Fantastic Voyage” is what happened next.

Bowie’s influences and Bowie’s own influence were rebounding off each other as the 70s ended and the 80s began, notably in the emergent synthpop and new romantic scenes as well as through the music of enigmatic acts like the Associates and post-punk pioneers such as Cabaret Voltaire.

Like Low and Heroes, some of the tracks on Fantastic Voyage are spiked with tension (Grauzone’s ‘Eisbär’) while some share those albums’ sense of travel (Simple Minds’ ‘Theme for Great Cities’, Ryuichi Sakamoto’s ‘Riot in Lagos’) and others find common ground with “Lodger’s” dark, subtle humour (Thomas Leer’s ‘Tight as a Drum’, Fripp’s ‘Exposure’).

This is the thrilling, adventurous sound of European music before the watershed moment when Bowie would abandon art- pop for America and the emerging world of MTV with “Let’s Dance” in 1983. Fantastic Voyage soundtracks the few brief years when the echo chamber of Bowie, his inspirations, and his followers created an exciting, borderless music that was ready to challenge Anglo American influences.

THEODOR is a psychedelic sweet soul band formed by members with diverse musical backgrounds.

Whilst on a road trip to Italy Rob and Lui were listening to tapes of contemporary soul music. The idea was born to record an album channeling a moody and relaxed soundscape. „Right after our trip we called up our good friends Max and Greg, who were immediately on board. We wrote and recorded deep in the pandemic. Those weekend sessions captured this peaceful solitude“ The outcome was their self-titled debut album which will be released in February 2023 on the french label Broc Recordz.

The rich sonic texture and unconventional arrangements of their very first single SHEPARD’S LULLABY gives a hint on what is to be expected on their forthcoming LP. THEODOR created a perfect soundtrack for a hot and humid summer day having a magic dash in your twelve o’clock tea. Playful melodic bass lines and the soulful acoustic drums build the playground for the warm and dreamy keys such as farfisa organs, fender rhodes and 80's synths. The lush instrumentals are spiced by the very different yet complementary voices of Max and Lui.

The third album by RICO FRIEBE is a clearance, an outcry, an universe within itself, a hope and a message at once – sending out ANTHEMS FOR A LOST GENERATION!

After his preceding albums of intimacy WORD VALUE and FACES MEET, based on personal tragedies and the accompanying struggles, RICO FRIEBE has something to tell to a whole generation and delivers ten radiant and distinct top-notch productions that find a most modern and futuristic sound within different styles of pop music while his soft and emotive voice is hovering above all.

Originally, ANTHEMS FOR A LOST GENERATION has been recorded as an acoustic double-album, but RICO FRIEBE threw it all out, wrote new songs and found a truly more fitting sound after he realised that there could only be one musical outcome to tell these stories: Songs like BAD SEED, I LIKE MEMES, REDO, GAMES or LAZY, BORED AND SAD are milestones of capturing a complete zeitgeist and beyond. Each line within the lyrics is taken from close and personal experiences and interactions that made him undergo a whole spectrum of emotions, creating deep worries and sadness, but also a far hope.

Feel lost? Be found! With ANTHEMS OF A LOST GENERATION...

Soft Walls is the solo recording project of Dan Reeves, who has spent his entire adult life kicking around in the dust of the UK's underground music scenes. Cutting his teeth in the South West's post-hardcore scene; centred around Exeter's The Cavern club, before moving to the South East and forming his own record label; Faux Discx, and the propulsive post-punk band: Brighton via London's Cold Pumas. Projects have come and gone over the years, but Reeves' Soft Walls has remained, an outlet for whatever musical whim takes his fancy.

'True Love' is Soft Walls' 4th album. Written and recorded at home, during breaks in work. During the aftermath of you-know-what.

For this album Dan leaned heavily in to his guitar playing, searching for those purest moments of true emotion and connection. Aiming to strike an instant blow. "Emotional guitar music. But not Emo." The result of falling in love with an instrument again and playing for the joy of it, much like he did as a teenager. Just older, wiser(?) and certainly more world-weary / teary-eyed.

Thematically, 'True Love' revels in stating its love for everything that is dear to Reeves. Odes to marriage, romance, unconditional love, parenthood and creativity pierce through the record's down-swings that tackle existential crisis and the feeling of falling in to depression. Each song attempts to encapsulate a vivid feeling, be it positive or negative. It's all part of a life worth living.

Although recorded at home, this album marks a leap in to digital mid-fidelity for Soft Walls, embracing a wider, richer sound beyond the tape hiss of earlier releases. That same spirt is still in the mix, but is presented wide-eyed and caffeinated in to clarity. Elevated by the input of a handful of collaborators contributing to the performances and helping to shape it sonically, 'True Love' ends up being the truest version of Soft Walls committed to (digital) tape thus far.

« Tas Malonumas »
Lithuanian word
Def: meaning That Pleasure
Example: conversation between a young, inexperienced person and an elderly person who’s near death’s door. The old one is telling the young one how life is an unceasing search for pleasure.
Track: takes the form of a mental stroll that takes you far, far away.

« Room of Men Eaters »
Human expression of cannibalism
Def: absurd situation in which men and women eat each other in a room
Track: the contrast between the absurdity of the situation and the apparent normality of speech told by the vocoded voice of Shkema is just astonishing.

« Sarka Syrkaza »
From the future
Def: meaning “super sarcasm”
Example: one day you wake up in the morning and you feel that something within you has changed. All seems to be nonsense and you start to look at everything through the grey glasses of sarcasm. One might look enjoying oneself, but in reality this is an extremely draining state of mind.
Track: musical expression of that state of mind

« Je n’aime pas les fêtes »
World expression
Def: parties are boring
Track: Shkema remix of his friend Afrodelic is a wacky version that contrasts French lyrics talking about how disastrous parties feel with a beat that just makes you want to dance.

Doch spätestens nach Veröffentlichung der EP »bunte farben« von Tjark bekommt dieser Ort seine ganz eigene musikalische Geschichte, und man lernt den jungen Künstler aus der Provinz von einer sehr intimen Seite kennen.

Nächstes Jahr feiern Ipecac ihr 25-jähriges Bestehen. Um die Feierlichkeiten einzuläuten, veröffentlicht das Künstlerfreundliche Label das 2005er Album General Patton vs. The X-Ecutioners zum ersten Mal auf Vinyl..., in einer limitierten Silver Streak-Ausgabe.

Die Veröffentlichung bringt Mike Patton, den legendären Frontmann von Faith No More, Mr. Bungle, Tomahawk und vielen anderen, mit einer der angesehensten DJ-Crews des Hip-Hop, The X-Ecutioners, zusammen. Die Zusammenarbeit kam zustande, nachdem die beiden Gruppen einige improvisierte Live-Shows zusammen gespielt hatten. Der süße Duft der Chemie wehte schon bald durch die Luft, und so beschloss man, einen Schritt weiter zu gehen und gemeinsam an einem kompletten Album zu arbeiten. Das Ergebnis sind 23 Tracks, die einen direkten Zusammenprall zwischen Hip-Hop und der wilden und verrückten Welt von Ipecac darstellen.

- Ltd. Col. LP: (Silver Streak Vinyl; zum ersten Mal auf Vinyl erhältlich; mit einem 24x36 ausklappbaren Poster und einigen metallischen PMS Farben)

Top-Zusammenstellung von Tracks aus den Original-Soundtracks aller vier Staffeln der Netflix-Serie 'Sex Education', komponiert vom preisgekrönten RTS-Komponisten Oli Julian. Limitierte Auflage auf Baby-Pink-farbigem Vinyl.

Donovan’s Original
A Gift From a Flower to a Garden made for a few firsts: the first double LP of Donovan’s
career, one of the first box sets in pop and, most importantly for Donovan himself; the first
pop album for the children of tomorrow.

He resolved to make A Gift From a Flower to a Garden an album of two halves. The first,
Wear Your Love Like Heaven, was intended for his own generation as they started to think
about the kind of world they wanted to leave behind. The second, For Little Ones, was for
the children they had or would have in the years to come. The result was a kaleidoscopic
folk-jazz suite on the power of love, imbued with all the romance and mystery of an Arthur
Rackham illustration for an ancient English fairy tale. The songs, remarkably adventurous
given Donovan was a globally famous singer at his commercial height, combined the
influences he had amassed so far.

There is something about A Gift From a Flower to a Garden that could never be repeated,
though. It is such an innocent evocation of the childlike imagination, so redolent of its time,
yet set apart from it too. All these years later, the peaceful qualities of this pioneering,
enchanting, deeply unusual album feel more valuable than ever.

The state51 Box Set
With authenticity core to the project, The state51 Conspiracy engaged one of the UK’s
leading experts in box set design, Daniel Mason at Something Else, to painstakingly recreate
the box, records and accompanying ephemera. The first challenge was to find the deep blue
leatherette paper the original box set was covered in; a problem since it was no longer in
production. “I knew people who had stacks of it, gathering dust on top shelves, so I bought it
up wherever I could find it,” says Mason. Then came the reproduction of 12 loose leaf lyric
sheets on fine art watercolour paper, each of them featuring a watermark and a fairytale-like
illustration by Donovan’s artist friends Sheena McCall and Mick Taylor. Where, though, to
find the same paper stock? “I found out that it was made at a paper mill in North Wales
called Abbey Mills. Unfortunately the mill dissolved in the early 70s and very little of the
paper remained. However enough paper remained to allow us to produce the numbered
certificate also signed by Donovan that sits within the box.”

Then to the iconic cover image. Donovan and Jimi Hendrix’s personal photographer Karl
Ferris, used infra-red film to achieve the psychedelic effect on the cover, but the original
negatives couldn’t be found. Mason then used digital technology to ramp up the colour levels
on a reproduction from an original copy of the album while allowing it to remain a little bit
faded, as it would be after half a century. The same labour of love and care has gone into
producing all elements of the box; from the rebuilding of the famous front cover font to the
hand-numbered and signed certificate; letterpress printed on the original paper stock of the
1968 UK release lyric sheets.

To cap it all off the original mono master tapes were waiting safely in the EMI Donovan
Archive and transferred from tape to digital by Abbey Road Studios where new lacquers
were cut, ensuring Donovan's favoured mono version of the album would be presented both
physically (and digitally for the very first time) in striking audiophile quality. The final touch to

Tessen were folding fans with concealed outer spokes made of heavy iron plates. Some swordsmanship schools provided training of the tessen as a weapon. Besides using the razor-sharp spokes as an attacking tool, the tessen was also used as a throwing weapon, for fending off knives and darts and as a swimming aid. Samurai could also secretly take them to places where overt weapons were not allowed.

Nur wenige Bands vereinen Düsternis, Melodie und Musikalität so sehr wie die Finnen INSOMNIUM. Und das mit großem Erfolg: Ihr letztes Meisterwerk "Anno 1696" (erschienen Anfang 2023) eroberte die internationalen Albumcharts, darunter Platz 1 in Finnland und Platz 5 in Deutschland. Century Media Records bringt nun zwei Alben auf Vinyl zurück, die mehrere Jahre lang vergriffen waren: Bereits 2011 hatte das Album "One For Sorrow" dem stetig wachsenden Erfolg der Band einen weiteren Schub gegeben und sie in die Top10 der finnischen Albumcharts katapultiert. Ihr 2016er Album "Winter's Gate" ist ein Konzeptalbum, das aus einem einzigen epischen 40-minütigen Song besteht. Das Album basiert auf der Kurzgeschichte "Winter's Gate" des Sängers und Bassisten Niilo Sevänen, die in seinem Heimatland mit Preisen und Nominierungen ausgezeichnet wurde. Das Album ging in Finnland sofort auf Platz 1. Beide Alben sind jetzt in 180g farbigem Vinyl erhältlich.

The Glass Hours are American songwriters Brad Armstrong and Megan Barbera. Their music blurs between Sunday afternoon country-folk and the Golden Age of the 1970s. With the exception of Sue Westcott on fiddle (Chet Atkins, Tom Jones), the album was written, performed, recorded and produced by Brad and Megan in Brad's home studio in Red Hook, New York.

Like much of the work they've done in their respective solo careers, the new album dances between this and that, drinking from the same wells as Gram Parsons and Emmylou Harris, Tom Waits and Lucinda Williams. The songs go where they want to go; Brad and Megan simply try to stay out of the way. Although it is nearly impossible, in this new world of niche artistry, not to pick a genre camp and pitch a tent, The Glass Hours seem intent on trying. Yet, there is a thread that ties the whole thing together: the constant tension and tapestry of their voices harmonizing. Every song on 'The Glass Hours' was written with the idea of this harmony and interaction, point and counterpoint. Two voices trying to come together as one.

First ever vinyl release of the album recorded in 1969/70 by UK prog-psych band Misty. Including their terrific mod-psych “Hot Cinnamon” 45.

A dazzling fusion of classically-inspired progressive rock and song-based psychedelic pop with an organ-based sound, in the vein of Procol Harum and The Nice.

“In October 1969, King Crimson released their debut, In The Court Of The Crimson King, Pink Floyd unleashed Ummagumma and Led Zeppelin put out their second LP. At the same time, Misty were in London’s Regent Sound Studios recording what turned out to be the only album of their career with producer, Adrian Ibbetson, who had cut his teeth as an engineer working with everyone from the Beatles to the Equals.

After only a handful of gigs, Misty signed a deal with Parlophone and began to gather momentum with the release of Hot Cinnamon. Although they received a lot of airplay, the single failed to chart and the band’s hopes of releasing their debut album were dashed. Reluctantly, Misty went their separate ways and the Here Again master tapes sat gathering dust on a shelf until Gelardi came across the original acetate and decided it was time for the album to finally see the light of day.

Bridging late psych and early prog, songs like Life Has Just Begun, Witness For The Resurrection and the title track were played with a perfect mix of high-flying experimentation and virtuosic musicianship. Blurring the fine lines between rock, jazz, classical and chamber pop, Here Again is a transcendent kaleidoscope of colour that is beyond definition.

Maybe you can tell an album is truly timeless when it takes half a century for it to be properly appreciated. Misty were a rare bird, a brilliant, truly original band who should have left an indelible mark instead of joining what now seems like the never-ending line of half-remembered and long-forgotten flotsam and jetsam of the psychedelic era.

Both the first and the final statement from a group who never really got their chance to be heard, Here Again is a slice of pristine psychedelic pop that so embodies the dizzying energy and the progressive spirit of the time, it’s astonishing that it stays afloat under the weight of its own intentions. But float it does, like mist in the air - a half-forgotten diaphanous dream slowly coming back to you after 50 years of silence.” – Jonathan Wingate

‘THE CONGREGATION - Jazz Alliance International’ compilation is the latest offering from Mono Jazz label. Compiled by Massimiliano ‘Jazzcat’ Conti - a DJ, broadcaster and internationally respected
selector with over 150,000 followers on Mixcloud - and featuring liner notes by Paul Bradshaw (from the iconic ‘Straight no Chaser’ magazine), ‘THE CONGREGATION’ is an innovative, largely
contemporary selection of tracks that they feel is representative of the current era - a true manifesto of the international jazz scene of the present days.

The release was received with great enthusiasm by some of the leading DJs and music critics of the scene – from the UK, to Germany, to Japan – getting early radio support by Patrick Forge (NTS), Colin
Curtis (Hitmix Radio), Kevin Beadle (TWR), Rainer Trüby (Compost Records), Shuya Okino (Kyoto Jazz Massive), Raffaele Costantino (Rai Radio 2), Ilya Rasskazov (Headz.FM), Michael Rütten (Soul Searching), David Patterson (JFSR), Simon Harrison (Basic Soul) & more.

Built around a near mythical, unreleased song by Japanese producer Yellowtail featuring legendary beat generation jazz singer Mark Murphy, the selection of tunes contained in this album ventures far and wide. Soulful offerings by Anthony Joseph and Jimetta Rose & The Voices of Creation, percussive and spiritual renditions by the likes of Malcolm Strachan, Right Tempo’s own Francesco Sotgiu and Nicola Conte, Latin-flavoured explorations by Mexican giant Tino
Contreras and Acid Jazz’s signed Mama Terra and a hip-hop spiced cut by Portuguese producer Azar Azar are some of the many moods that can be found in ‘THE CONGREGATION’

Roberto Carlos Lange alias Helado Negro liefert mit "PHASOR" den Nachfolger zu seinem von der Kritik gelobten Album "Far In" (2021)ab. Gleichzeitig erscheint die erste Single "LFO", die von einem halluzinatorischen, selbstgedrehten offiziellen Video begleitet wird. Den Anfang nahm "PHASOR" 2019 an Langes 39. Geburtstag nach einem fünfstündigen Besuch von Salvatore Matiranos SAL MAR-Projekt an der Universität von Illinois. Diese Maschine ist ein komplexer Synthesizer, der mit einem alten Supercomputergehirn und analogen Oszillatoren generativ Musik erzeugt. Er kann eine unendliche Anzahl von Klangsequenzen erzeugen. Diese SAL MAR-Erfahrung wurde zum Grundstein für PHASOR. Sie lehrte Lange mehr über sich selbst und wurde zu einem zentralen Faktor in seinem kreativen Prozess. "PHASOR" ist Langes dichteste Song-Sammlung - tiefgründig, atmosphärisch, akribisch ausgeführt. Damit reiht es sich ein in das langjährige Schaffen Langes sowie an das 2019er Album "This Is How You Smile", auf dem er mehr Schlagzeug und Bass und fokussierte Grooves einsetzte. Sein Album "Far In" aus dem Jahr 2021 befasste sich mit dem Thema "Quarantäne". "PHASOR" wiederum ist eine Rückkehr ins Leben, eine Erinnerung daran, wie sich die Sonne anfühlt und wie man sich von ihr wärmen lassen kann.

The title of Staś Czekalski’s debut translates as ‘Adventures’. It’s fitting for an album that invokes feelings of exploring, roaming, ambling through bustling cities and changing seasons, around castles and swaying fields, down the pixelated paths of old computer games, and all the way home.

We get the sense of being on some carefree yet critical quest, with Staś taking on the role of narrator as much as composer. Part fable, part Moomins, part seek and you shall find, these boppy, wide-eyed and reflective tracks set imagination in motion.

These are sonic adventures in a more literal sense too, at once quietly bold and intricately arranged. Bouncing around a playful gamut of references, from the whimsically lo-fi electro-acoustic pop of Anne Laplantine through trip-hoppy bedroom ambient and indietronica, Staś sets this blend twinkling with his singular form of magical thinking.

"STEPS ON A CLOUD" was featured on the fourth volume in the "CAN YOU FEEL IT" compilation series. "WHISPERING"has not been re-issued so far and is exclusively available on this sweet 45 RPM single.

Monte Fiasko, oder der Gipfel der Katastrophe. Das vierte Album der NDW-Postpunker ILLEGALE FARBEN aus Köln legt einen düster-treibenden Soundtrack unter diese großen und kleinen Krisen im Privaten und in der Welt. Die Themen sind dabei so abwechslungsreich wie die Sounds. Es geht um Einsamkeit, Selbstzweifel und Resignation. Illegale Farben zeigen sich also weiterhin nicht von ihrer Spaßvogel-Seite, der Tenor bleibt blau-grau. Neu sind auch die musikalischen Gäste auf Monte Fiasko, neben Stefanie Schrank von Locas in Love ist auch Cecilia Boström von The Baboon Show bei jeweils einem Song mit dabei. Stilistisch ist das Album ein gewagter Mix aus den postpunkigen Klängen der ersten beiden Alben, der kontemplativen Zurückhaltung des letzten Werks, "unbedeutend ungenau", und mitreißendem Indie-Rock. Immer mit einer guten Portion NDW abgerundet, sei es in der Musik oder in den Texten. Hier wurde ein "Album" im klassischen Sinn produziert, das sich natürlich bestenfalls auf LP anhören lässt.

- Klassisch schwarzes Vinyl
- 2x12" Vinyl
- Deutsche Pressung
- Überarbeitetes Artwork in einem der Bildwelten würdigen Großformat
- Stabile Kastentasche
- Mehrfarbig bedruckte Innenhüllen mit allen Songtexten
- Mehrfarbig bedruckte Vinyletiketten
- Limitiert auf 500 Exemplare weltweit